'In my opinion the drama of today is in a rut and full of prejudices and conventions...When I watch these great & talented people, these high priests of a sacred art, depicting the way people eat, drink, make love...when I hear them trying to squeeze a moral out of the tritest words and emptiest scenes, when I am presented with a thousand variations on the same old thing, the same thing again & again - well, I just have to escape, I run away'.
Why should anyone be interested in listening to you - unless you can make what you have to say interesting both in what you say and how you say it? Why should I want to spend time with your characters - in your story?
The function of dramatic structure is to orchestrate the audience's emotional experience of your story. This is what you have to control and master.
'Let the doors be shut upon him, that he may play the fool no where but in's own house'.
Hirst has gone. The mega-exhibition. The greatest hits of the Ancient and the pre-modern worlds. Almost like he'd got a researcher to buy the book and decided to copy them. In Venice, sponsored by billionaire kitsch-addict Francois Pinault.
Venice. Culture deracinated from the power + fear of its roots, its rituals, its crimes + punishments. Disneyfied. Emptied of its original meaning - of all meaning, save that of a selling the the corpse as a commodity.
Mayan. Greek. Roman.…Continue
Posted on December 19, 2017 at 16:08
Posted on June 17, 2017 at 17:29
If drama is no more than character revelation through the force of a pressing/ unavoidable plot - then sequencing (SQ) must surely be focused on the conflicts, contradictions and consequences of the character, each SQ revealing his/ her changing view of herself? The self-revelation, often painful, that she is - or is…Continue
Posted on February 11, 2017 at 17:17